Classic fairy tale comes to life under the stars
Theatre Under the Stars is marketing this production as Rodgers and Hammerstein’s Cinderella. That all-time great American musical theatre team wrote their version of the classic fairy tale for TV in 1957 with Julie Andrews in the title role.
The songs here won’t make you forget their Oklahoma! or The Sound of Music. Instead, what drives this terrific show is its witty book, updated by playwright Douglas Carter Beane in 2013, and director Sarah Rodgers’ effervescent staging, anchored by a stellar cast who appear to enjoy every moment as much as the audience does.
We first meet the Prince, played adorably by Tré Cotten. Although he kills monsters, he’s modest and insecure, an orphan manipulated by his elitist tutor Sebastian (perfectly arched Michael Wild). Beane has created a new character, revolutionary Jean-Michel (lively Daniel Curalli), who challenges the Prince to help the poor people exploited by the kingdom’s political policies.
Meanwhile, Ella (Mallory James) slaves away under the withering gaze of nasty stepmother Madame (Caitlin Clugston, who has the best dialogue and ties for best delivery with Cotten), and stepsisters Gabrielle ( Vanessa Merenda) and Charlotte (funny Amanda Lourenco).
This Cinderella isn’t beaten down or intimidated. She’s a resilient dreamer, but like the Prince she needs a shot of self-confidence. That’s a job for homeless Marie (soprano Laura Cowan, the best voice in the show), who turns out to be Ella’s fairy godmother.
Sebastian arranges the Prince’s ball as a distraction from JeanMichel’s political protests (“A royal wedding — it works every time!”). The accompanying number, The Prince Is Giving a Ball, showcases the entire company’s song and dance skills and Nicol Spinola’s excellent choreography.
The transformations of Cinderella’s dress into a gown, pumpkin into a carriage, and mice into footmen are appropriately fairy-tale magical. Her prancing horses (two male dancers) are absolutely gorgeous.
At the same time the tonguein-cheek dialogue makes the characters totally contemporary. “I crack myself up,” says Madame. At the ball Charlotte wants to know which masked man is the Prince: “Whaddya think I’m here for, the free food?”
Interviewing prospective brides, the Prince asks Gabrielle what her interests are. She: “Whatever your interests are, your highness.” He (to the audience): “Creepy.”
James’ Ella and Cotten’s Prince make a sweet couple but their songs together are uninspiring. They do their best musical work apart, he in his opening (Me, Who Am I) with his men, including Caleb Lagayan’s elegant Lord Pinkleton; she with her fairy godmother (Impossible) and Madame and the stepsisters (When You’re Driving Through the Moonlight).
Charlotte and the ladies of the court have the show’s other best number, Stepsister’s Lament.
Brian Ball’s spectacular set is dominated by a giant black and gold clock. Christina Sinosich’s costumes evoke the 1950s of the original production but with nice contemporary touches. Madame’s green dresses and the fairy godmother’s sequined gown are awesome.
In the show’s final image, Ella and the Prince seal their marriage by jumping over a broom — a tribute, I’m sure, to Cotten’s African-American heritage. It’s the kind of thoughtful detail that makes Sarah Rodgers’ work always so richly satisfying.